This preview shows page 1. Sign up to view the full content.
Unformatted text preview: Class Projects
Drama 120 Class Projects
Class Projects Our focus for the remainder of the semester. They are a culminating activity of what we have studied to this point.
They will account for 25% of your grade. All individual projects to include the All individual projects to include the following for their chosen play:
Character Diagram & Story Highlights
Plot Elements 1.
• Should include ‘character,’ ‘desire,’ ‘action,’ and ‘obstacle’ points for 24 characters (depends on play) Scene Event summaries 1.
• Include shift diagrams, influential factors, event sentences, driving questions Individual Projects (Cont’d)
Individual Projects (Cont’d)
5. The Genre Factor (12 pages)
Identify & describe the genre. Use the textbook as a source and summarize in a paragraph or two. Go through the 9 ‘genre considerations’ for your play: Perspective on Human Nature, Thematic Resonance, Character Complexity, Audience Appeal…(See “Genre Discussion” PowerPoint on Blackboard)
Decide how the genre factor might influence your project and describe this in a paragraph or two. Individual Projects (Cont’d)
Individual Projects (Cont’d)
6. A creative interpretation in one of the following areas (details to come) 7. Acting
Playwriting Any additional work (written or oral) that goes with the above. (details to come—e.g., Actors write a ‘character study’.) Individual Projects (Cont’d)
Individual Projects (Cont’d)
8. A 4 5 page (typed) paper that synthesizes the following: Your response to the play
Your analysis of the play
Your creative interpretation
(We’ll discuss this more next week)
That’s all, folks! Considerations
Considerations The points above are given in the order in which they should be done. Do not do the analysis last minute before class. The whole idea is that our work should be grounded in a comprehensive analysis of the text we are interpreting. Except for the creative interpretation (#6) element, which does allow for collaboration, you must do your own work. This includes steps 15, 7 & 8. Creative Creative Interpretations
1. Perform a 5 min scene/beat from your play (with at least one other actor) Requires a careful ‘character study’ (see ‘Feers’ example on Blackboard)
Requires memorizing lines, blocking and (if possible) working with a director. Consider the theatre adage: 1 min stage time = 1 hr rehearsal Directing
1. Practical: Direct a scene/beat using 2 or 3 actors
Dramatic beat analysis(es) for segment directed
Scene presentation (with actors) Directing (cont’d)
Theoretical: Make a proposal and a pitch for your own production
Brainstorm an indepth exploration of approach 2. Will it be Traditional, Updated, a Radical Departure, or an Adaptation? What themes will be emphasized? What look will the production have? What kind of budget would you need? Who would you like to work with on this? Write a “Proposal letter” responding to a theatre company’s “Call for proposals”
Make a 5 min Pitch to the ‘Board’ of the theatre (the class) explaining why we should give you a spot in our season Design
1. Scenic Design (Theoretical) 1. Costume Design (Theoretical) 1. Focus is on ‘look of the stage’ (may include set, lights, props)
Focus is on the ‘look of the characters” (may include costume, makeup and hair) Practical Option Work with a director and assist scene with design elements (for example, props & costume). May also require a theoretical component. Playwriting
1. Write a 10 minute scene or play inspired directly from your play. Some examples: Show characters from play in alternative setting/time. (e.g., “Rosencrantz & Guildenstern are Dead”) Show ‘offstage’ activity of actors performing your play. (e.g., “I hate Hamlet” or “Noises Off”) Show audience members /readers grappling with play in some meaningful way. (e.g., friends threaten friendship with reactions to this play, cf. “Art”.) Playwriting (cont’d)
2. Write a 10 minute adaptation of a scene from your play. Some examples: Begin with event summary. Keep the emotional shift, but change all the details of time, place, persons… Begin by changing time and place. Use similar “characters” (different names) but adapt the play to the new idiom. It will require new language and need not go sentence by sentence. (e.g., Rita Dove took ‘Oedipus Rex’ and set it in antebellum South with ‘The Darker Face of the Earth’) Project Plays
Project Plays “Galileo” by Bertolt Brecht (1940) Brecht’s “Galileo” highlights the moral ambiguity of this ‘wouldnotbe’ martyr for Science. Genre: Epic Theatre Focus on sociopolitical ideas & not emotions
Key idea: the audience should analyze not empathize. Tactics: Episodic scene structure, songs, distant settings Brecht opposed Nazis, sympathized w/ communists In WW II, he escaped to Denmark, Scandinavia, then US
After War, his ‘Berliner Ensemble’ becomes highly influential “Fences” by August Wilson (1985) “Fences” explores the generational conflict in a Black family set against the cultural changes of the 1950s
Genre: Poetic Realism / AfricanAmerican Drama
Troy Maxson is a powerhouse of a character in his dogged pursuit of his American Dream, and a tragic figure to compare with Willy Loman. “Fences” is the most produced of August Wilson’s “Cycle of 10 plays” Each play dramatized a decade for AfricanAmericans “How I Learned to Drive” by Paula Vogel (1997) “Drive” explores a teenage girl’s accountability in her incestuous relationship with her middleaged uncle. Genre: Feminist Drama Both raucously humorous and devastatingly poignant. Feminism is arguably the greatest challenge to the Traditional Repertoire of Plays & Western Dramaturgical Practice ‘Drive’ uses nontraditional storytelling features: Fractured, episodic scenes & Aeffect staging (qua Brecht)
Reversed sequence of events (qua Pinter’s “Betrayal”)
A 3member “Greek Chorus” filling all other roles, singing ...
View Full Document
This document was uploaded on 10/29/2011 for the course DRAM 120 at UNC.
- Fall '08